All in Good Time

Tyldesley Little Theatre’s recent staging of ‘All in Good Time’ offered a heartfelt,
humorous, and deeply human slice of post-war working-class life, brought to vivid life
through Bill Naughton’s timeless script and the assured direction of Alex Haymes.
From curtain-up to final bow, the production was a thoroughly engaging blend of
poignant drama and razor-sharp Northern wit.
At the centre of it all were Joshua Thomas and Katie Ward as Arthur and Violet
Fitton, newlyweds grappling with the pressures of intimacy, family interference, and
emotional misfires. Joshua’s portrayal was wonderfully understated—Arthur’s quiet
turmoil and restrained vulnerability were etched into every pause and glance.
Opposite him, Katie brought a layered performance full of fire, frustration, and charm
as the confident yet confused Violet, whose closeness to her father only deepened
her emotional conflict with her new husband.
There was remarkable chemistry across the ensemble. Nicholas Worthington,
stepping into the role of Ezra Fitton with only two weeks’ preparation, gave an
impressively complete performance—blunt yet subtly emotive as Arthur’s
overbearing father. Carolyn Haslam, also working with limited rehearsal time, was
endearing and effective as Lucy Fitton, the harried mother caught between
peacekeeping and helplessness.
The Piper family offered a contrasting household dynamic. Ingrid Folkard-Evans
chewed the scenery delightfully as the sharp-tongued, possessive Liz Piper—her
jealousy of her daughter’s bond with her husband was palpable yet never slipped
into caricature. Matthew James, as Violet’s father Leslie, brought a calm, grounded
presence that added much-needed tenderness to several scenes. Their
performances underscored the intergenerational complexities at the heart of the play.
The supporting cast added real richness: Joe Taylor’s lewd and provoking Joe
Thompson earned a gasp-inducing punch from Arthur, while Lauren Allister’s
portrayal of Joe’s wife Molly offered a subtle but sturdy counterbalance. Neil
Robinson gave a heartfelt turn as Violet’s Uncle Fred, and Brandon Norbury as
workmate Eddie Taylor helped underscore Arthur’s insecurities about masculinity.
Geoffrey Fitton, Arthur’s cheeky younger brother, provided comic levity—gleefully
ribbing his elder sibling about a honeymoon that did not live up to expectations.
Visually, the production was a triumph of thoughtful design. The set, designed by
Andy Haymes and team, placed a lived-in kitchen front stage right, with doors
leading to both out of the front of the property and the heart of the home. An elevated
bedroom stage left served as both a literal and symbolic space—a reminder of Arthur
and Violet’s fraught attempts at privacy and connection.
Technically, the show ran like a well-oiled machine. Lighting Design by Pete Gower,
with Jenny Whur on operation, allowed the play’s mood to gently shift from comedic
to intimate with finesse. Paul Whur’s sound design was crisp and understated,
supporting each scene without calling attention to itself. None of this would have

been possible without the calm and capable stage management of Alex Haymes,
whose behind-the-scenes coordination ensured that each cue, entrance, and
transition was delivered with quiet precision.
What truly stood out was the emotional truth at the heart of the performance. All In
Good Time is, at its core, a study in vulnerability—of men struggling to express
themselves, of women caught between duty and desire, and of families fumbling to
show love through tradition, tension, and awkward silence. This production captured
all of that, and more, with clarity and care.
It was a production that made you laugh, made you wince, and made you think.
Tyldesley Little Theatre delivered a tender, truthful performance with plenty of well-
timed humour. I would like to thank Tyldesley Little Theatre for inviting me and my
plus one to their performance, we had a great evening with plenty of warm hospitality
from the front of house team.

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